arXiv subjects

Jan Hajič jr.

Publications and source records attributed to Jan Hajič jr..

7 recordsLinked to original sources

arXiv2026

A Flexible Encoding Model for Non-Unique Note Alignments

Symbolic music alignment links notes in a symbolic performance to their counterparts in a score. While existing alignment encoding formats provide unique correspondences between these notes, there are various musical practices and forms such as practice repetitions in rehearsal and improvised realizations in basso continuo that require a more flexible approach to encoding their alignments. In this paper, we propose a minimal, backward-compatible extension to the Match file format to support such non-unique and semantically complex alignments. We introduce two virtual pointer notes - virtual score notes and virtual performance notes - which allow to encode multiple links between performance and score notes. In addition we expand the Match file's 'section' line to include semantically meaningful annotations of performance regions beyond score-indicated musical repetitions. We further demonstrate the utility of these extensions through two representative use-cases in piano rehearsal and basso continuo.

cs.SD↗

arXiv2026

A Dataset for the Recognition of Historical and Handwritten Music Scores in Western Notation

A large amount of musical heritage has been digitised by memory institutions: libraries, museums, and archives. Nevertheless, the field of Optical Music Recognition (OMR) has struggled with making this music machine-readable, despite advances in deep learning, mostly because no datasets for training systems in realistic conditions were available. The MusiCorpus dataset aims to remedy this situation by providing 1,309 pages of historical sheet music, primarily handwritten, with MusicXML transcriptions and symbol annotations. It is the largest dataset of handwritten music to date and the first dataset containing a realistic and representative sample of musical document collections from memory institutions, suitable for training and evaluating both end-to-end and object detection-based OMR systems and comparing their performance.

cs.CV↗

arXiv2025

The Rest is Silence: Leveraging Unseen Species Models for Computational Musicology

For many decades, musicologists have engaged in creating large databases serving different purposes for musicological research and scholarship. With the rise of fields like music information retrieval and digital musicology, there is now a constant and growing influx of musicologically relevant datasets and corpora. In historical or observational settings, however, these datasets are necessarily incomplete, and the true extent of a collection of interest remains unknown -- silent. Here, we apply, for the first time, so-called Unseen Species models (USMs) from ecology to areas of musicological activity. After introducing the models formally, we show in four case studies how USMs can be applied to musicological data to address quantitative questions like: How many composers are we missing in RISM? What percentage of medieval sources of Gregorian chant have we already cataloged? How many differences in music prints do we expect to find between editions? How large is the coverage of songs from genres of a folk music tradition? And, finally, how close are we in estimating the size of the harmonic vocabulary of a large number of composers?

cs.SD↗

arXiv2025

Knowing when to stop: insights from ecology for building catalogues, collections, and corpora

A major locus of musicological activity-increasingly in the digital domain-is the cataloguing of sources, which requires large-scale and long-lasting research collaborations. Yet, the databases aiming at covering and representing musical repertoires are never quite complete, and scholars must contend with the question: how much are we still missing? This question structurally resembles the 'unseen species' problem in ecology, where the true number of species must be estimated from limited observations. In this case study, we apply for the first time the common Chao1 estimator to music, specifically to Gregorian chant. We find that, overall, upper bounds for repertoire coverage of the major chant genres range between 50 and 80 %. As expected, we find that Mass Propers are covered better than the Divine Office, though not overwhelmingly so. However, the accumulation curve suggests that those bounds are not tight: a stable ~5% of chants in sources indexed between 1993 and 2020 was new, so diminishing returns in terms of repertoire diversity are not yet to be expected. Our study demonstrates that these questions can be addressed empirically to inform musicological data-gathering, showing the potential of unseen species models in musicology.

q-bio.PE↗

arXiv2024

Practical End-to-End Optical Music Recognition for Pianoform Music

The majority of recent progress in Optical Music Recognition (OMR) has been achieved with Deep Learning methods, especially models following the end-to-end paradigm, reading input images and producing a linear sequence of tokens. Unfortunately, many music scores, especially piano music, cannot be easily converted to a linear sequence. This has led OMR researchers to use custom linearized encodings, instead of broadly accepted structured formats for music notation. Their diversity makes it difficult to compare the performance of OMR systems directly. To bring recent OMR model progress closer to useful results: (a) We define a sequential format called Linearized MusicXML, allowing to train an end-to-end model directly and maintaining close cohesion and compatibility with the industry-standard MusicXML format. (b) We create a dev and test set for benchmarking typeset OMR with MusicXML ground truth based on the OpenScore Lieder corpus. They contain 1,438 and 1,493 pianoform systems, each with an image from IMSLP. (c) We train and fine-tune an end-to-end model to serve as a baseline on the dataset and employ the TEDn metric to evaluate the model. We also test our model against the recently published synthetic pianoform dataset GrandStaff and surpass the state-of-the-art results.

cs.CV↗

arXiv2022

Proceedings of the 1st International Workshop on Reading Music Systems

The International Workshop on Reading Music Systems (WoRMS) is a workshop that tries to connect researchers who develop systems for reading music, such as in the field of Optical Music Recognition, with other researchers and practitioners that could benefit from such systems, like librarians or musicologists. The relevant topics of interest for the workshop include, but are not limited to: Music reading systems; Optical music recognition; Datasets and performance evaluation; Image processing on music scores; Writer identification; Authoring, editing, storing and presentation systems for music scores; Multi-modal systems; Novel input-methods for music to produce written music; Web-based Music Information Retrieval services; Applications and projects; Use-cases related to written music. These are the proceedings of the 1st International Workshop on Reading Music Systems, held in Paris on the 20th of September 2018.

cs.CV↗

arXiv2017

In Search of a Dataset for Handwritten Optical Music Recognition: Introducing MUSCIMA++

Optical Music Recognition (OMR) has long been without an adequate dataset and ground truth for evaluating OMR systems, which has been a major problem for establishing a state of the art in the field. Furthermore, machine learning methods require training data. We analyze how the OMR processing pipeline can be expressed in terms of gradually more complex ground truth, and based on this analysis, we design the MUSCIMA++ dataset of handwritten music notation that addresses musical symbol recognition and notation reconstruction. The MUSCIMA++ dataset version 0.9 consists of 140 pages of handwritten music, with 91255 manually annotated notation symbols and 82261 explicitly marked relationships between symbol pairs. The dataset allows training and evaluating models for symbol classification, symbol localization, and notation graph assembly, both in isolation and jointly. Open-source tools are provided for manipulating the dataset, visualizing the data and further annotation, and the dataset itself is made available under an open license.

cs.CV↗